Monday, 17 March 2014

something about me................

No more can I ignore the dark events flowing down from history to the present. I am a part of the occurrences around me. My father is a retired army serviceman. Since childhood to my present I have not known the idea of a stable home. From Silchar to Ladakh, from Jharkhand to Bengal my life has been deemed in a course of constant movement and migration from one colony to the other. The crisis of space and belonging has been a constant preoccupation that channels into my work.

For the past 4-5 years I have been addressing sociopolitical issues through my art practice. I have created posters and paintings on the issue of ‘anti corruption’, on the issue of labour exploitation in ‘commonwealth games’ and on the issue of women’s rights and freedom. The content of my work is of utmost importance and I try to formulate a language around it to visually express myself. I engage myself in research before working on any specific issue through fieldwork, surfing the internet and reading articles in the print media. Rather than coming up with an immediate response , it is important for me to dissect the events and try to comprehend the social structure around it to reach at the core of any cause, so that that I am capable of coming up with a form of contingent expression.

As an art practitioner revisiting histories of past practices and producing critique of critique may help one to make perceptible a discontinuity with the present police modes of practice, which brutally imposed on you from outside and thus it can help to locate the impossibility of constructed one. Constructed binary antagonism (high art against low art) even produces moral biases, more or less each one practice in economic production and social condition determines all human creations and artistic production, as like economic and other productions are radically alienated. However from the last century capitalist system consumed such alienation of art like other modes of production family, religion, morality, state and among others. But such multilayered power relation in each case, we can’t define as superstructural mode, because power relation lies in the chess board not in the chess pieces. Like other cases in ‘police order’ (RANCIERE), it is not that some person policing rather the signs and its signifiers control our behaviors (red light in road, aura of a gallery or museum structure, family structure) and the language is the foremost dominant apparatus in our everyday life. So the cultural praxis is the one of key processor of our everyday life as like economy. Praxis because its holds both visible invisible, major minor and that’s why practice itself produces contradiction. But because throughout history our dominant cultural practitioner through their appropriation of subaltern's voice they invisibilized minor practices, so questioning and exposing such marginalization is the political act. Operation of language and language is itself center of power relation and similarly it always evokes the question of counter hegemonic possibility. But the modes of counter politics aren't following the oppositional or the binary mode; reasonably it pushes the limit of a given structure. In one sense it sound problematic, but it always tries to indicate the impossibility to reach a totally new stage from the existing dominance of language or the hegemony of language rather through locating the impossibility, it pushes the limit of the existing language system and questioning the ‘Contemporary’ itself, like, what’s constitute our contemporary life? It some extents try to identify the crisis of our contemporary moment or intensifying the present. But that is not any way suggesting a process, achieving success or even failure in this movement rather what is it going to be an ‘unknown’ result. So making programmatic action is not the blueprint at all, rather make continuous interruption into the homogenize production relation. But that strategy was not following any singular way, somewhat it tries to make multi-processor machineries, to overcome from that situation, not any fixed or ideologically motivated way of doing rather in an experimental manner like as ‘music’ not the ‘system of musical notation’(as KAFKA use).

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About Me

If I try to articulate my last ten years of practice, I would like to consider myself as a propagandist. I say this without
any irony. From studio-based visual art practice to community based engagement; from collaborative projects to continuous participation in different published mediums or online sites (magazine, newspaper, leaflet, article); from performance to photographic documentation, the manipulation of self-performative acts; from archival habits to a curatorial encounter with political context based productions in relation to solidarity with different socio-political movements; from working with theatre production, film festival, conference to organizing workshops, seminar, panel discussion; from regular basis interactions with different forms of practitioners and initiates dialogues through interviewing, circulating questionnaires, general meeting, sending letters or even non occasional chatting, debating, study circles and so on – each and every thing can come into the forefront within propaganda practice. But the concern and the context’s demands leads to the mode of engaging.